Critics' Pick

Dreams Come True on Journey "Into the Woods"

noreply@blogger.com (Maggie Espino) — Wed, 23 Apr 2008 20:58:00 +0000

Once upon a time, well, actually a Tuesday evening in April, a talented troupe of students performed Stephen Sondheim's celebrated musical Into The Woods at the Gallaway Theatre on the University of Alabama campus. Join them, if you dare, on their musical journal into the dark forest where make-believe and reality collide.

With superb music and lyrics by Stephen Sondheim, this show is sure to bring a smile to your face and a song to your heart. James Lapine's book-turned-musical explores the lives of our favorite characters including Cinderella, Rapunzel, the Baker and his wife, and Jack (of beanstalk fame). The daily happenings of these fairy tale friends intermingle with hilarious interactions and touching dialogue that is a joy to the audience.

The Baker, played by Blake McCorvey, and his wife, played by Sadie Magadanz, enter the mysterious woods to secure four objects required to break the curse put on his, sorry, their home by a witch, played by Dianna Duffy. The Baker and his wife are desperate for a child to call their own and will stop at nothing to obtain the items needed to lift the curse. McCorvey performs the music flawlessly with beautiful timbre and sincerity and Magadanz also does a great job conveying the relationship between husband and wife. Duffy plays the part of the witch with enthusiasm, though she seemed to lose some of her fervor in the second half.

Without a doubt, some of the most impressive musical performances are by Katie Burton as Cinderella and Kelly Ann Shamburger as Rapunzel. Burton's clear, perfectly pitched tone is faultless at all times and Shamburger's lilting melodies sung from offstage are absolutely gorgeous. Both of these ladies also conveyed the personalities of their character with ease. Stephanie Marie Mosley once again showcases her immense talent with a stunning performance as Little Red Riding Hood who is en route to visit her grandmother, of course, through the woods. Mosley brings such life to a familiar character that destroys all your past preconceptions about Little Red and ensures hilarity.

What fairy tale would be complete without a prince? Make that two princes, brothers actually, both pursuing the girl of their dreams. David Cordell plays Cinderella's prince majestically and interacts well with Rapunzel's prince played by Jeff Ingram. Along with Jack, played by Jake Boyd and his trusty cow and audience pleaser Milky White (Sarah Ondocsin), this all-star cast features some of the finest talent in residence here at UA.

The set design by Andy Fitch and Rick Miller is just phenomenal. Utilizing "Wood Sprites" to maneuver just a few pieces of convertible scenery, the action is fast paced and doesn't slow down the storyline or interrupt the show. The rearranging of the set becomes part of the show and helps create the feeling of uncertainty and variability that might occur should one find themselves lost on a journey "into the woods."

The last theatrical performance at UA this semester is sure to be a delight to all audience members. You'll leave the theater with a new found appreciation for "happily ever after" and the knowledge that "happy" is what you make it. Come learn that the destination is not half as important as the journey, as you travel "Into the Woods."

Do you dare venture Into the Woods?

noreply@blogger.com (Meg Brandl) — Wed, 23 Apr 2008 17:07:00 +0000

On Tuesday night at the Gallaway theater, we in the audience were haunted by two simple lines of dialogue as we learned the dangers of going Into the Woods:

"Everything will work out fine in the end!"
"Not always."

Stephen Sondheim's haunting and unconventional melodies and lyrics combine with a book both witty and thought-provoking in this fairytale gone askew. In the first half of the show, familiar characters such as Jack (of the proverbial beanstalk), Cinderella, Rapunzel, and Little Red Riding Hood are encountered by a childless baker and his wife on their quest to gather items for a wicked witch in order to have their curse lifted. As these fairytale characters go through the motions of their respective stories, they repeatedly encounter each other with often hilarious results. However, when the lights go up on Act II, there is unrest in Happily Ever After, and the characters embark on a both moral and physical journey, fighting for their peace of mind and their lives.

The writing, both of music and book, is superb. Lyrics are clever, sometime punning, other times putting a twist on a familiar tale. The characters are humanized when they begin to sing, transforming from the flat storybook-types one would expect into men and women who are a little excited and scared, who sometimes want more even after "happily ever after," who question what they wished for and what they've done with their lives so far. After a point the book and lyrics become more unified as the tone of the play darkens, and overall the two components--music and dialogue--fit together nicely. True, someone who has never heard or seen Sondheim might not immediately take to the way he chooses to juxtapose vocal and instrumental melodies, but I believe that anyone will ultimately warm up to it because it is so appropriate to the context of the play.

Director Seth Panitch and choreographer Rita Snyder mean business; the actors utilize the stage in effective and sometimes surprising ways. The wood sprites, whether dancing about or moving scenery, remain in character and seem a natural (pardon the pun) part of the mysterious woods. When the cast sing, they are lively and active; and when they speak, they never stay in one place for long. The pace is appropriately balanced, speeding through witty banter and joking and putting on the brakes now and then for serious, contemplative songs and dialogue. And certainly every part is well-cast; the actors take on their roles wholeheartedly, presenting favorite old storybook characters just as one might expect them to be--and then some. If ever the witch seems over-the-top, if ever Rapunzel seems far too sweet, if ever the Narrator seems stereotypical and far too enthusiastic, it is the nature of the character, wholly appropriate to the humor and even satire of the story. To praise the production further, the characters' costumes are vibrant and well-suited to each of them, from the highly amusing getup donned by Milky White, Jack's cow, to the standard royal finery of the princes and Cinderella. The set is an important element in the storytelling and, again, the characters play off of their surroundings well.

Into the Woods is not a cut-and-dried fairytale; there is a balance between reality and happily ever after even in this imaginary world. And one cannot help being absolutely sucked in to the tale: as the baker, holding his new son, wracked by the inner turmoil of a moral dilemma and wondering what course of action he should take, was joined by his wife, who sang, "Sometimes people leave you halfway through the wood. Do not let it grieve you; no one leaves for good…" I was shocked to suddenly feel big fat tears welling up in the corners of my eyes.

In the end, the choice is yours--you will laugh; you will think; you might even cry; but you'll never know unless you make the long, dark journey yourself--Into the Woods.

Happily Ever After...At Least for the Audience

noreply@blogger.com (Christi Positan) — Wed, 23 Apr 2008 03:40:00 +0000

Have you ever wondered what happened in your favorite bedtime stories after the "happily ever after"? Sometimes fairy tale endings aren't as wonderful as they seem...and there may be more to the plot than you thought. UA's production of Into the Woods adds some surprising and hilarious twists to the fairy tales you thought you knew and leaves the audience with the feeling that, although the stories aren't neat and perfect, there is hope for a happy ending.
Several classic Grimm's Tales overlap in this musical comedy, including "Jack and the Beanstalk," "Cinderella," "Repunzel," and "Little Red Riding Hood." The characters are dynamic and full of life--hardly the fairy tale characters we're used to. Each has a wish, and each strives to have his wish granted, causing a series of unexpected and often very funny events that leads the audience to believe that maybe wishes fulfilled aren't all they're cracked up to be.
This production truly has value as a comedy. The collisions of the characters as they bumble their way through their stories make for some very funny episodes of misunderstanding, conflict, and cooperation. The endeavors of two shallow princes to win their lady of choice, the unexpected sass of a little girl in a red cape as she encounters a wolf, and the arguments between a baker and his wife put the audience in convulsions of laughter. A lighter mood helps take some of the gravity off of the heavier themes of disappointment and disillusionment, and add a humorous element to the lessons the characters learn along their paths through the woods.
The music of this production is spectacular, truly enhancing both the comedic and the serious moments of the show. The musical numbers give the show a professional and well-rehearsed feel. The constant interweaving of music into the plot is natural without being overbearing, and doesn't draw the production out too long or detract from the story. Instead, music gives the show a more whimsical quality. The funny lyrics create some of the most hilarious moments of the production. The actors have stupendous voices, and their acting leaves nothing to be desired. They seem to enjoy their roles, and that helps to bring the audience with them into...well, the woods, where magic is real and singing your heart out is an acceptable form of self-expression.
The scenery, too, helped to create the illusion of place, and the constant shifts of scenic elements left me feeling as if I was lost in the woods myself, drawing me into the aura of the fairy tale. The costumes are entirely appropriate for this production--slightly surreal, magical, and altogether enchanting.
Into the Woods is engaging and simple, its meanings clear. Even though the characters' stories don't quite go exactly as they planned, the production is definitely a happy ending for the audience. It made us laugh, and leaves us with the desire to go Into the Woods.

Oddly Funny and Entertaining, Hummm...

noreply@blogger.com (Rashard Elliott) — Fri, 18 Apr 2008 15:02:00 +0000

No need to "call Dr. Pepper," that's just you side spliting from laughing so hard. I'm not really sure if it's the lost in transition Spanish speaking brothers trying to figure out if it is "nougat or no good," the bitch fit over a terribly burned duck, or the constant arguing between Olive and Florance (where Florance told Olive off). Whatever it was, it oddly worked perfectly and was completely entertaining!

The Odd Couple (the female version) opened April 15, at the Allen Bales Theatre to an almost packed house of theater goers. Yet, the play wasn't short of its share of regular comedic antics and cruda jokes. For instance when Florance Unger (Jessie Towey) was confiding in brothers from Spain Manolo "Mannie" (Lawson Hangartner) and Jesus "Jess (pronounced haze)" Contavuela, they told her "to get it up, we all do!" But, the play offered more. It dealt with an issue that we as college students or adults face; the incompatibiliy of roommates!

The play centers around free spirited, happy go lucky Olive Madison (Kristi Wiley) a journalist, who opens her home to friend Florence Unger a recently divorced, domesticated, neat freak, house wife; that's where the distress begins. Everything the roomies do irked the other. Like the fact that Olive is a slob or Florence's allergy induced hawking (sorry about that roomy), it's one thing after another; what was these ladies thinking? Why didn't they just kill each other? Like any well rounded group of friends there were those interceptors, in this play that ensemble inculded: Vera (Denee' Miller), Renee (Deletha Edwards), Mickey (Alice Aycock), and Sylvie (Regan Stevens). This is not by any means an episode of sex and the city. Follow the colorful group and see a little bit of yourself as well; as the talented cast demonstrate how you can love a friend but can't live with them.

The original version of this play opened on Broadway in 1985. UA's production director Kenmicheal Stafford did a wonderful job of bringing the play up to date, making it even more relatable. Scenic Designer Tracey Gamble, created a neat New York style apartment that is sure to make you feel like you are at home waching your TV, and not sitting in a theatre looking at a play.

So come out and bring your roommate, sit back relax and watch someone else battle out your problems. The Odd Couple (female version) is sure to leave you either loving or hating your roommate more, but at least you'll do it laughing until your sides hurt! and maybe you can find "what's the strongest muscle on a man...before and after..."

The Odd Couple Offers a Refreshing Look at Theatre

noreply@blogger.com (Whitney Hobson) — Thu, 17 Apr 2008 04:38:00 +0000

The UA Department of Theatre and Dance performed Neil Simon’s The Odd Couple on Tuesday, April 15, at the Allen Bales Theatre on campus. It was an extremely well done show and very funny. The cast members put their heart into the performance and did an excellent job of capturing the oddly paired roommates and friends.

The best job of all was definitely done by Jessie Towey who played Florence Unger, she became her character to the point where even her appearance took on a look of meticulous cleanness. She made the show come alive with her vitality and effort. Also, Kristi Wiley, who played Olive Madison, did a great job of being completely comfortable in her own skin as she paraded around in her dirty apartment getting in on all the jokes and fun. The whole cast made the show a very light-hearted affair that kept the audience laughing and on their toes until the end.

The details of production were very well done too. The play took place in Allen Bales theatre which is a round stage and there was one set for the entire production. However, it was so well set-up that the audience could imagine the comfortableness of the apartment and sense all the actions happening within.

The show was one of the best I have seen performed at the University this semester and was a great chance to get a good laugh with friends. Anyone who has not seen this show really should make their way to a theatre the first chance they get!

Personalities collide in female Odd Couple

noreply@blogger.com (Beth Beaumont) — Thu, 17 Apr 2008 03:06:00 +0000

Sometimes, two things just can't go together. Or, when forced together, they are so different that they create conflict of near-epic proportions. The Odd Couple, which opened Tuesday night at Allen Bales theatre, is the chronicle of one such incident. It is the story of a group of friends, all of whom have their share of problems. One of the girls' problem is loneliness; another just separated from her husband. Simple solution, right? They decide to room together, thinking their problems are solved; however, as when any two distinctly different personalities collide, conflict soon ensues.

The play, while cleverly written by the playwright Neil Simon, seems to stall somewhere in the middle and the end just drags painfully to a too-abrubt conclusion. The first half of the play is entertaining and goes quickly; however, after intermission there seems to be no apparent action and the audience is left waiting for something to happen. The play ends with the audience still waiting - waiting and wondering if it really is over.

The play does have its redeeming points. The dialogue is cleverly written, and the characters well put-together. Neil Simon does a good job of treating serious matters with the right touch of levity. This allows the audience to experience the pain of Olive's loneliness and of the break-up of Flo's marriage while not dragging their emotions through the mud as well. They can be touched while keeping their hearts completely intact. The audience feels bad for the characters while laughing with and at them. The truly tense moments, such as Flo's and Olive's confrontation towards the end, are interspersed with comedy to lighten the mood. While the play deals with very solemn issues, it leaves the audience as lighthearted when they leave as when they came in.

Despite the flaws with the script itself, the actors did an excellent job. They made a scriptally tedious second half enjoyable. Sylvie had a pretty authentic-sounding New York accent that was not difficult to understand, and only once did the audience catch Olive getting a little too southern ("why don't y'all just have a seat"). Florence was great at being annoyingly needy and melodramatic without being too irritating. Vera was believably absent-minded and Micky wonderfully sarcastic. The actors saved what would otherwise be a tedious play after the intermission.

The set, too, was apropos and set the mood for the play. The mis-matched furniture visually depicted the mixed personalities within the group of friends, and each person's costume reflected her personality well. Vera wore cute little dresses; Micky jeans and a t-shirt that said NYPD, Olive fun and colorful combinations, and Florence very conservative outfits. The audience got an exact impression of each character's personality just by looking at what she wore. The music was uplifting and catchy. Many walked out of the theatre whistling or humming something that was played.

Although the plot of the play was not the most riveting, the acting, the set, and the costumes more than made up for the problems with the script. The good, entertaining acting did indeed conflict with the more tedious script, but, in this case, unlike Flo and Olive's disastrous clash, the result was a show worth seeing despite its flaws. In the words of Olive, I suggest that you go see The Odd Couple "actually, physically, and immediately."

Now Now, Big Girls Don't CRY

noreply@blogger.com (Cara Michelle Smith) — Wed, 16 Apr 2008 23:23:00 +0000

Yes yes, it's true: tears were flowing heavily at the Allen Bales Theatre for The Odd Couple's opening night, this past Tuesday, but not the kind of tears you're thinking of. Bursts of laughter, I'm sure, could be heard from outside the theatre as leads, Olive and Florence's provocative humor demanded attention; knee-slapping attention, that is. With witty Trivial Pursuit hilarity, two zany Spaniards, six eccentric and quirky women, and some actual heart-tugging themes throughout, The Odd Couple is not one you should skip out on this semester.
When poor, helpless Florence "Flo" Unger (Jessie Towey), gets divorced from her husband and threatens to kill herself, she's got nowhere to go except for her dear friend, Olive Madison's (Kristi Wiley) apartment. Between an avid game of Trivial Pursuit and the latest gossip, the rest of the gang; Sylvie, Micky, Renee, and Vera attempt to ease her frustration with some pretty funny suggestions. It's decided that uptight, obsessive compulsive, neat-freak Flo will move in with sloppy, lazy, go-with-the-flow Olive so that she'll have a place to stay. As time passes, the two are at each other's throats, and Olive soon realizes she can no longer have her especially messy apartment "messed up" by Flo who basically follows her with a feather duster. Though, by chance the two get thrown into dinner plans with the especially good-looking Spanish brothers down the hall and learn a little more about the other's point of view. Enough is enough, though, and Olive kicks poor Flo out; But it turns out to be a good thing! The two end up learning what self-respect looks like through each other's flaws.
As far as the set went, I wasn't impressed. Though quite functional, it seemed to be mismatched, and it clashed with the various characters' costumes. Couches, tables, and wall hangings just didn't look right. I have to give it to scenic designer Tracey Gamble for constructing a practical layout that was serviceable to the audience from all sides.
And acting! Did I forget acting?! Well, before I move to the leading characters, I have to give it up to Regan Stevens, a freshman this year, who played the impatient Sylvie. Her flawless New York accent was all-too convincing while her facial expressions and subtle, furtive glances caught my eye every time she was on stage. Furthermore, leads Wiley and Towey provided the play with rivaling talent. Wiley threw herself about stage fearlessly, not missing a beat with every joke, scowl, and toss of the newspaper. Her talent was obvious, yet I wondered if she could play any other type of character; Her sarcasm and wittiness seemed almost inherent. Towey really showed off her ability, as well though it seemed a little less natural. She perfectly embodied the typical obsessive, "neat and tidy" wife role and did a fabulous job at driving everyone crazy.
The disappointments were minimal, the merriment in great supply. So, don't miss this one, ladies and gents. Its sure to give you some hearty chuckles and perhaps even some loud one, and you're definitely in for a truly important life lesson: Big girls don't cry.

"Odd Couple" Won't Disappoint

noreply@blogger.com (Maggie Espino) — Wed, 16 Apr 2008 20:17:00 +0000

Laughs were not in short supply at the Allen Bales Theatre as Neil Simon's The Odd Couple (Female Version) opened Tuesday evening. Directed by Kenmichael Stafford, this comedy based on the relationship between two newly divorced best friends-turned-roommates promises a wonderful evening full of fun and surprises.

Recent divorcee Olive Madison (played by Kristi Wiley) persuades best friend Florence Unger (Jessie Towey) to move in with her after the breakup of Florence's fourteen year marriage. What seems like a brilliant idea for two friends turns into a disaster as Olive's slovenly ways and Florence's neat-freak obsessive cleaning clash for a comedy of epic proportions. Kristi Wiley is over-the-top funny as Olive and interacts beautifully with the talented Jessie Towey as Florence. Towey's perfect facial expressions that served her well in UA's The Government Inspector and subtle nuances lead us to believe that she really is the recently separated mother of two with a love for cooking and cleaning. Wiley expertly delivers witty lines and uses animated gestures that bring Olive to life. Together with friends Sylvie (Regan Stevens), Micky (Alice Aycock), Renee (Deletha Edwards), and the delightfully dimwitted Vera (Denee' Mills), Olive and Florence must learn to live with each other, for better or for worse.

Filled with clever dialogue and sharp one-liners (sometimes that go right over the audience's head), The Odd Couple races to an amusing climax complete with a date with handsome Spanish brothers. Manolo Costavuela and his brother Jesus find themselves on a double date with Olive and Florence that leaves the audience rollicking with laughter. The hilarious exchange playing on the intricacies of English colloquialisms and the language barrier dividing the Spanish men and New York women is one of the highlights of the show. The Costavuela brothers are played with suave Spanish flair (though sometimes not entirely believable) by Lawson Hangartner and Elliot Moon to bring another dimension of comedy to the play.

Excellently executed on a detailed stage designed by Tracey Gamble, The Odd Couple showcases the immense talent here at the University of Alabama. The wonderful case and crew of this spring's final Allen Bales production make this a must-see for all of us who need a little laughter to brighten those last few weeks before finals. Take a break from paper-writing and Facebook-ing to enjoy the skill of UA's theater department as they perform The Odd Couple. I guarantee, you will not regret it.

Much More Than Just an "Odd Couple"

noreply@blogger.com (Courtney Phillips) — Wed, 16 Apr 2008 18:04:00 +0000

If you have ever had trouble differentiating between the word "nougat" and the phrase "no good," then The Odd Couple, showing through April 20 at Allen Bales Theatre, is the production for you. This is not the regular version that you might have previously seen; this production of The Odd Couple is the female version of Neil Simon's Broadway play. However, do not expect any less comedy or wit than the original.

The Odd Couple focuses on two women, Olive Madison, played by Kristi Wiley, and Florence Unger, played by Jessie Towey, who become roommates after Florence's husband calls for a divorce. Even though Olive and Florence are best friends, being roommates is a totally different story; they are basically the complete opposite of each other. The two are joined by a rambunctious group of friends, played by Alice Aycock, Deletha Edwards, Denee' Mills, and freshman Reagan Stevens. These women spiced up the play with their one-liners and were always there to help Olive or Florence out whenever either was in a messy situation. Also joining the cast were two Spanish brothers, Manolo Costavuela, played by Lawson Hangartner, and Jesus Costavuela, played by Elliot Moon, who live on the second floor of Olive and Florence's apartment building.

The character development and relationship between Olive and Florence was wonderfully executed; no other two actresses could have done a better job of portraying best friends who are ironically, complete opposites. Sitting in the audience, I truly believed I was watching two roommates fight over household chores and chase each other around like sisters. Sylvie, played by freshman Regan Stevens, not only had a perfect New York accent, but also executed her sometimes shady one-liners flawlessly. Vera, played by first timer Denee' Mills, was a great fit for her somewhat confused and out of the loop character.

The most memorable scene of the play had to be the interaction between Olive, Florence, Manolo, and Jesus during their "dinner date." The confusion between the Spanish and English language and the overdramatized reactions of the two Spanish men were filled with absolutely hilarious dialogue. This was truly the high point of the show.

The Odd Couple is not just a show for people who want to relate with others' roommate troubles, but it's a show for everyone who loves a good dose of humor portrayed in everyday situations. I highly recommend seeing this show for a good laugh and a taste of talented acting from UA's theatre department.

A Barrel of Laughs All in a Night's Work for this "Odd Couple"

noreply@blogger.com (Caitlin Clark) — Wed, 16 Apr 2008 04:43:00 +0000

If you asked a group of typical UA students what they're doing this week, you'd probably hear a few of them say that they are going to see the sold-out female version of The Odd Couple, Neil Simon's comedy that replaces the idiosyncrasies and pranks of the beloved Felix and Oscar with the hormones and neuroses of New York women Florence and Olive. This dynamic cast is led by Jessie Towey and Kristi Wiley. Towey portrays Florence, the neurotic, paranoid, obsessive-compulsive hypochondriac whose mood swings and chronic "nerve spasms" result in night-and-day personality shifts. She says that she drives everyone around her crazy, citing the fact that she was once kicked out of the office of a marriage counselor as proof. Wiley's Olive is her polar opposite: a hopeless romantic who is still a marionette to her gambling user of an ex-husband. She is possibly the sloppiest person known to man with a very go-with-the-flow attitude towards life, resulting in an apartment in the condition of a pig sty.
Their group of friends is no less eccentric. First there is Renee, the most laid-back, empathetic, and realistic of the group. She is played by sophomore Deletha Edwards. Mickey, the police officer (portrayed by senior Alice Aycock) who is obviously a more dominant personality, is very blunt and very feminist. Then there is Sylvie, played by freshman Regan Stevens. Sylvie is a pistol of a woman, with an extremely acerbic wit to boot. In response to the question "How many times do penguins have sex?" and its answer (one), she immediately responds "Oh, well I married a penguin!" Her short temper also seems to put her in conflict with the last of the friends, Vera, played by junior Denée Mills. Vera is the very oblivious and dim-witted friend who wears horrible print patterns that bring back the not-so-fond memories of the 80's and is obviously very out-of-touch with reality. However, the two men of the show, the proverbial "roosters in the henhouse," if you will, steal the show. Lawson Hangartner and Elliot Moon play Spanish brothers Manolo and Jose Costazuela, who happen to be Olive's neighbors. These two "caballeros" are the suave kind who evoke images of Ricky Ricardo, complete with heavy Spanish accents and constant misuse of complicated English idioms.
The basic plot revolves around Florence and Olive. Florence's husband leaves her after fourteen years of marriage. She goes to stay with her best friend, Olive, who deals with her hysterics and eventually asks her to move in. Their diametrically opposed personalities added to Florence's constant whining, eccentric and egocentric behavior, and sometimes obsessive need for organization nearly drive Olive and their friends to the brink of insanity. The play is filled with sharp, witty one-liners and hysterical, speedy back-and-forth dialogue abundant in both subtle pop culture references and cheeky innuendo, similar in style to the banter of T.V. favorite Gilmore Girls. If you like a hefty dose of laughter combined with a cast of unique and dysfunctional characters, then I strongly recommend that you go see the Odd Couple at the Allen Bales Theater this week. In fact, I think I'll have a nerve spasm if you don't.

Huxford Symphony Orchestra Spring Concert a Must-See

noreply@blogger.com (Caitlin Clark) — Tue, 08 Apr 2008 05:49:00 +0000

As you walk through the house doors of Moody Concert Hall, you can hear strains of brass, woodwind, strings, and percussion echoing throughout the cavernous performance space as the musicians of the Huxford Symphony Orchestra warm up their instruments. The lights dim, and the orchestra members begin to tune their instruments in unison. Oftentimes, this pre-concert warm-up is indicative of the overall color and harmony of the concert. In this particular case, it had the ability to excite any true music lover and boded well for the quality of musicianship to come. In this performance, Mr. Demondrae Thurman, a Tuscaloosa native and graduate of both UA and University of Wisconsin-Madison, was featured as a guest artist on a piece he premiered for solo euphonium and orchestra. Under the direction of Mr. Carlton McCreery, UA’s Director of Orchestral Studies, the Orchestra performed three pieces that were exemplary in their diversity and orchestration.

The first piece performed was Roman Carnival Overture, Op. 9 by Hector Berlioz. This piece consists of material and themes from Berlioz’s ill-fated opera Benvenuto Cellini, including the carnival scene from the opera. The Orchestra began by opening with a thunderous flourish of violin and trumpet fanfare, and following it with a famous slower-tempo solo for English horn, both of which were excellent in their pitch and harmony. The Overture alternates throughout the piece between the musical depiction of the boisterous action of a wild carnival and of the lulls that occur in between periods of action. The unity of sound and the orchestration techniques used in this composition accurately depict a lively carnival, allowing the listener to visualize such an event. This particular performance perfectly presented this piece as Berlioz envisioned it, and it follows the Romantic Period standards of a symphonic poem, which is a single piece for orchestra that expresses an extra-musical idea.

The Orchestra then performed a suite of pieces by Italian composer Ottorino Respighi which are entitled Ancient Airs and Dances Suite No. 2. The four movements of this suite are based on lute pieces written by four Renaissance Italian composers. The first movement, “Laura Soave,” opens with a light and staccato lilting tempo reminiscent of a waltz-like dance created by the woodwinds and the plucking of the violin strings. This movement features a beautiful duet of harp and flute that has that distinctly Renaissance rhythm to it. The second movement, “Danza Rustica,” is just that - a piece reminiscent of a very lighthearted social dance. It is a very smooth and flowing composition with an even tempo from the timpani underlying the floating legato of the strings, woodwind, and brass. “Campanae parisienses,” the third movement, is an interpretation of an aria credited to Marin Mersenne, a French theologian and music theorist. The opening has an andante, or walking-speed, tempo, and is dominated by strings with the occasional brass solo. The rich, harmonious, and continuous sound contributed a very soothing element to the movement, which was incredibly emotive and powerful. The musical composition shows the composer’s great emotional attachment to the muse of his piece, probably extending back to Mersenne’s original aria text. This movement fades calmly into the fourth movement, “Bergamasca,” which opens with a very lively orchestration of strings, woodwinds, and brass. Throughout this piece, the bassists pluck the same three-note motif that defines the tempo. A piano solo is also present here, which adds a light and relaxed element as well. The second section of this movement is predominately woodwind with a flute and harp duet, closing the entire piece with a grand and sweeping orchestral finish.

The final piece of the night, which featured Mr. Demondrae Thurman, was the Fantasy for Euphonium and Orchestra by Doug Bristol. Mr. Thurman himself is an excellent musician, capable of holding his own whilst being accompanied by a sixty-four-member orchestra. “I love watching him play,” says Leslie Proctor, a freshman majoring in vocal performance. “You can really feel the truth expressed through his playing.” This piece opens with a solo by Mr. Thurman and orchestral accompaniment. The first half of the piece continues this way for the most part, and has a very anxious and urgent tone to it. The strident staccato background to Mr. Thurman’s solo was enhanced by the orchestral focus on the brass and percussion sections. Following an enormously intense crescendo and sudden cessation of sound, Mr. Thurman and another brass section musician play a duet that leads into the second half of the piece. This part takes on a more ominous tone, emphasized by the combination of clarinet, percussion (triangles), and euphonium, which build in volume, adding instruments until the result is a full wailing orchestra complete with a gong. The entire piece is filled with sudden crescendos as well, creating that sense of anxiety as a response to the abrupt change in dynamic. The andante, legato portions of this piece underlain by a constant violin note are exceptionally harmonious and provide a brief respite from the intensity of the majority of the piece. The ending of the piece is the most foreboding, with a gradual build to the most intense crescendo of the piece, which is heavy on the brass section, violins, and timpani, and the addition of tolling bells creating the most intense dynamic level of the Fantasy that ends abruptly, leaving the listener in awe of the orchestral spectacle.

Overall, this concert was a very satisfying experience for me as an avid classical music buff. However, for those of you who aren’t as mad about this genre of music as I am, you will still enjoy yourself if you open your mind to the ideas that each piece conveys. Keep in mind that the message each person takes from each piece will be different, as we all process ideas in different ways. Beth Darrouzet, a freshman marketing major, said: “I have been to two Huxford Symphony Orchestra concerts. I liked the this one better because the music was more upbeat.” The beauty of classical music is that each person can connect with the melodies and the harmonies and it can relax the body, mind, and soul, opening them to interpret the message behind each piece as they see fit. I would strongly recommend that everyone attempt to attend the Huxford Symphony Orchestra Spring Concert. It is worth every second in that concert hall seat.

Dance Concert Hit and Miss

noreply@blogger.com (Christi Positan) — Wed, 02 Apr 2008 22:23:00 +0000

I have come to expect professionalism and variety from the Alabama Reperatory Dance Theater, and in their spring concert, the dancers did not let me down. The performances represented a diverse artistic diaspora, incorporating many cultures, genres of dance, and creative concepts--some that were very enjoyable, and others that weren't quite so easy to understand.

The concert opened with something a little classy: dances from Swan Lake, Act III. In an interesting twist, however, each dance represented a different nationality. With constant cultural changes, and each number characterized by a distinct color theme, this performance was lively and captivating. The dancers then moved into Carmen Amor Perdido, a Spanish-esque couple dance. Though the choreography of this performance was professional and inspired--and naturally so, as it was choreographed by Cornelius Carter, ARDT's director of dance--I thought the two dancers lacked chemistry and therefore did not communicate as effectively with the audience as they could have.

My favorite number by far was Bohemian Rhapsody, performed to Queen's classic hit. The dancers added a new element to this alternately spirited and sorrowful song, interpreting its rapid and frequent changes through closely coordinated body movements. I felt like the dancers were really in tune with both the rhythm and the moods of the song, and it was neatly begun and ended. The next couple of numbers, however, did not end as appropriately; I thought both Open-Ended and Urban Ballet were nicely arranged, but they were too long and repetitive.

It was obvious that a lot of work went into the last number, Frequency. This performance was bizarre, and I have never seen anything like it before on stage. I won't give away the surprise, but I will say it involved television screens and some carefully-coordinated computer graphics.

On the whole, I did not enjoy ARDT's spring concert as much as I enjoyed its concert in the fall. However, I think there were some interesting concepts explored in this performance, and if you are a fan of dance, it might be worth your time to go and see it.

ARDT Showcases Talent and Variety

noreply@blogger.com (Meg Brandl) — Wed, 02 Apr 2008 19:26:00 +0000

Are you unsure as to whether you want to go see ARDT? Allow me to warn you: there will be ballet, both traditional and contemporary. There will be modern dance. And there will be aliens.

When the Alabama Repertory Dance Theater's Spring Concert opened Tuesday night in Morgan Auditorium with "National Dances from Swan Lake Act III," I was a little skeptical as to whether the show would, overall, be something that everyone could enjoy. Ballet is kin to classical music and operas--anyone who has never seen it performed assumes automatically that he or she will hate it. However, I believe that ARDT is definitely worth everyone's while. Even if you find the ballet something to be suffered through rather than enjoyed, you will be rewarded in the end.

This spring's ARDT opens with ballet, moves on to a sensual Spanish piece, and just before intermission surprises the audience with a modern cavort to "Bohemian Rhapsody." The ballet is separated into dances specific to different countries, and even one who is seeing ballet for the first time can spot the changes in movement and mood among the different movements. The next dance, "Carmen Amor Perdido," tells a story of sorrow and romance. Even though the dancers don't entirely exhibit a believable connection, they play their parts well enough. "Bohemian Rhapsody" is fraught with weirdness, yet there is something fitting in the almost disturbing ways in which the dancers move. The confusion and turmoil they convey comes to match the song in an unexpected way, and when the tempo picks up, they fling themselves, backlit, across the stage, leaping and turning violently. The execution of the piece, strange as it be, is satisfying in the end.

The first piece after intermission, "Open-Ended," is just that. Personally, I was sometimes unsure as to what on earth was going on, torn between the odd lyrics and beats of the music and the inexplicable ways in which the dancers move. Now and then there is a moment of clarity--lyrics about everything being meaningless while one girl, surrounded by the chaos of dancers running back and forth across the stage, stares wonderingly up to the heavens--but I'm not sure whether the parts which seemed at least a little intelligible outweigh the general effect of confusion generated by the rest of the choreography and accompaniment. This mass confusion is followed by "Urban Ballet," an interesting contrast to the ballet at the very beginning of the concert. It all seems very well-done, the way the ballet movements, a little modified, and the bright costuming mix with the bass-thump-techno-beat pulsing of the music.

Last but not least, the house lights come up to a gentle glow as four television sets and two widescreen monitors are rolled out for the alien-themed finale, "Frequency." There is quite a bit of choreography that involves the dancers having to match their own prerecorded images, and I noted that there appeared to be a reasonable deal of technical difficulty and proper synchronization during these segments. Even then, however, it is spectacular, both the technology and, more importantly, the dancing.

There is so much more I could say, but I choose to stop here, hoping that I have sparked your curiosity and caused you to consider attending ARDT. Yes, there will be ballet, of both a more traditional and a more contemporary flavor. If that's not your cup of tea, there will be modern dance, though many shrink from that as well, fearing that it will be too abstract. And for those of you who are not yet sold--need I remind you?--there will be aliens.

Well-Engineered Performance

noreply@blogger.com (Erin Hollon) — Wed, 02 Apr 2008 15:18:00 +0000

The Alabama Repertory Dance Theatre Spring Concert 2008 is a cumbersome title for a showcase of such nimble performers. The concert consists of six numbers, choreographed by faculty members and performed by dance students.

Though opening night did not start out with a bang, the quality steadily progressed until the stunning final number. The first number was a staging of the National Dances from Swan Lake Act III. Granted, this classical ballet has stretched the limits of many professional dancers. Still the ensemble preparation seemed sloppier than necessary. The corps dancers had trouble moving together, especially when the tempo quickened. The soloists were much better prepared, and Anna Solomon soared above the rest in her role as the Spanish soloist. Solomon made the dance look effortless and the flowing line of her movements contrasted perfectly with the crisp movements of the all-male corps.

The next number, Carmen Amor Perdido, will be portrayed by a different couple each night. The choreography is compelling, and other couples might do it more justice than was done tonight. The woman should never seem dominant in a Hispanic couples dance, but this was unfortunately the case tonight, with the man obviously looking to the woman for dancing cues. It was painful to see the lack of control he had over the situation, and good dancing by his partner was not enough to make up for the lack of tightness in the ensemble.

Bohemian Rhapsody came next, danced to the Queen song of the same name. Though not all of the choreography seemed engaged with the lyrics, it did highlight beautifully the many color and texture changes in the music.

The next number, Open-Ended, seemed less engaged with its music. It is obvious that both the lyrics and the choreography are about relationships, but it is almost entirely unclear what the dancers have to say about this subject. It leaves the audience wondering if it means to express the singer's feelings that it's all just "beautifully meaningless."

The choreography to the next number, Urban Ballet, had the strongest sense of progression, with each new duet building the excitement and tension. The partner-dancing here was much stronger than in Carmen Amor Perdido, showing that there is a definite strength in this aspect of the company's abilities.

The final number, Frequency, is a proper climax. The Dance Department collaborated with Engineering to produce a superb multi-media experience. Though not perfect, the collaboration is effective and crowd-pleasing. The dance itself is sexy and a little disturbing, but the special effects add an extra dimension that leaves the audience thoughtful as well as thoroughly impressed.

This concert showcases the definite talent in the Dance Department. This is certainly a performance worth attending, and once you get there you have to stay for the end.

The Best Play in the Western World (or at least at UA)

noreply@blogger.com (Christi Positan) — Sat, 01 Mar 2008 00:09:00 +0000

The Irish are known for their strong emotions as well as their good-natured sense of humor, and both of these elements can be found in UA Theatre’s current production, The Playboy of the Western World.

The basic premise of the play is this: a young man, Christopher “Christy” Mahon, wanders into an isolated Irish village; tells a fantastic story about how he murdered his father; and wins the favor of the people and, more importantly, the heart of the tavern-keeper’s feisty daughter. Everything seems to be going his way until an unwelcome stranger appears and brings the light of reality to the seemingly perfect harmony in his life.

I thought the story was simple, but it was made complicated by the use of Irish colloquial language, sentence structure, and allusions, which can be confusing to an American student. The actors at times seemed a little rushed in their speech, which made the words more difficult to understand, and I had to pay very close attention to absorb everything that was going on onstage. At several points during the performance, I wished I had a copy of the script in front of me so I could follow along with the dialogue. However, the actors were expressive enough that even if I didn’t understand the words, I could get the meaning of the lines from the emotions communicated in their faces and gestures. On the whole, though, I think I could have enjoyed the play more if I had read it before seeing it.

The plot is intense, drawing the audience into the emotionally-charged elements of murder, love, and jealousy. At the same time, however, the play is peppered with comic relief, and I thought the director did a fantastic job of bringing out the humor in the lines. The actors’ use of physical comedy helped to bring out the funnier aspects of jealousy and longing for love in a small Irish village. At the same time, he didn’t neglect the more serious themes of the play, which were translated into the actors’ movements and interactions with each other. When the village widow develops a crush on Christy, she makes the audience laugh with her overly-flirtatious physical attention to him; when Christy is filled with insane rage, he slams about the stage in violent anger. This interpretation of the play had me alternately gasping and laughing in my seat, and really made me experience a diverse range of emotions without feeling overwhelmed.

Having already seen some of these actors before in other UA productions, I expected them to be good, and they lived up to my expectations. This cast has a professional, polished style that draws the audience into the illusion of the performance. Sadie Magandanz, who played Pegeen, the tavern-keeper’s daughter, interpreted her character well and gave a sense of authenticity to the play as a dynamic female lead. Philly Cullen and Jimmy Farrell - played by Jon Chapman and Patrick Winegar, respectively - contributed to the humor of the play simply by being believable drunks. The Irish accents could have been tweaked a bit to be more realistic, but overall this cast was well-rehearsed and delightful.

The set designer for this play was inspired by paintings by Irish expressionist Jack Yeats, and that aura of turn-of-the-century Ireland was reflected in the set and props. I was impressed with the balance and completeness of the tavern setting, and the period costumes added to the illusion of a time past. I enjoyed the Celtic music as well. I felt it was well-placed throughout the production and enhanced the sense of place without detracting attention from the performers.

If you have a craving for a zealous taste of Irish life and UA Theatre, go see The Playboy of the Western World; you won’t be disappointed.

Playboy Needs the Luck of the Irish

noreply@blogger.com (Rashard Elliott) — Thu, 28 Feb 2008 20:13:00 +0000

A lot of drinking, a little fighting, a lot of rich Irish accents, and a lot of sitting in theater seats; makes for a weary night of theater. The Playboy of the Western World by J.M. Synge opened Tuesday February 26, at the Marian Gallaway Theatre. The name is slightly misleading and play is equally disappointing. Set in a rural Irish town. The play is sure to loose your attention somewhere after the Irishmen asked you to turn off your cell phones, messaging devices, and Mp3 players.

The play follows a young man or orphaned boy named Christopher Mahon (Jake Boyd) to rural town on the Irish country side, telling the fabricated tale of how he killed his father. Actually, it’s a little confusing because he is being referred to as Christy, maybe that’s Irish Christopher; in the process the town’s women fall for charmer and his tales, in particularly Pegeen (Sadie Magadanz) and Widow Quinn (Jacqueline Wheeler). This could be an interesting aspect of the play, but, the accents were so thick that you couldn’t understand what the actors were saying. Worse when you could understand what was being said; there was so much Irish slang that you didn’t know they were talking about. We will leave interesting to the big fight scene. Maybe.

The set was nice, scenic designer Charles Murdock Lucas created a great rendition of an Irish pub; along with lighting designer Bill Teague, who did a wonderful job of conveying the mood of each scene with light effects; and costume designer Emma Cullimore coordinated fantastic costumes remaining authentic to the time period. If the play itself isn’t worth wild, at least the set, lights, and costumes will keep your attention.

The fact that the play wasn’t that good, certainly does not take away from the wonderfully talented cast, which also included: Steve Burch, Joel Ingram, Taylor Bridges, Jon Chapman, Patrick Winegar, Erin Hutson, JaneMarie Bobilin, Cyrstal Kohl, Seth Key, Joseph Cevallos, and Grey Hubbard; who all were entertaining.

The original play debuted in 1907 in Dublin, which caused riots during its opening week, the UA’s production not so much. It's considered J.M. Synge’s masterpiece, Playboy is just too long and flowed incredibly slow.

Playboy Provides Unique Twists

noreply@blogger.com (Whitney Hobson) — Thu, 28 Feb 2008 19:25:00 +0000

One would have never imagined exactly how attractive a murderer can be until they have seen Playboy of the Western World by J.M. Synge. It opened on Tuesday, February 26, at the Gallaway Theatre and gave the audience a show that they perhaps were not quite expecting.
The story line was intriguing, and murder factored largely into the mystique of the main character, Christy Mahon, played by Jake Boyd. The acting was well done and there was a lot of skill packed onto a small stage. Jake Boyd assumed the part of Christy seamlessly and brought a lot of emotion and humor into the play. The other players did a very good job of making the story come to life, especially Sadie Magadanz who played opposite of Christy most of the play.
The play, however, was not the most well written. There were several instances where it seemed as if the dialogue was exhaustive without any real purpose. However, the audience and actors took it in stride and still were able to enjoy the show.
The set was extremely well done, as was the lighting. It brought a lot of character to dull moments and it was entertaining to have the set separated into outside and inside, as it provided more room to create comedic occurrences and entertainment.
All in all, it was an entertaining evening and I would recommend it to anyone who simply wanted to kick back and relax without having to think very much about the matters at hand.

Playboy Doesn't Play

noreply@blogger.com (Natalie Beck) — Thu, 28 Feb 2008 06:54:00 +0000

Oy.

The title of JM Synge's Irish saga The Playboy of the Western World promotes a sense of excitement and provides the essential hook that both college students and theatre-loving adults can be caught by. However, this baited hook grabs you by its rustic Irish edges and it doesn't let go easily. You seriously have to fight it to stay alive, or at least awake for the essential last 5 minutes.

The story opens on a lovely set design, a homey shebeen, or Irish Inn, with a glowing fire and all the comforts of a traditional little Irish village. However, while the stage is set for a promising performance, one that you can just sit back and admire for its artsy vibe and entertainment purposes, this atmosphere is all lost when the characters open their mouths. Whether it's Pegeen Mike, the Inn keeper played by Sadie Magadanz, or any of her lads that hang round the Inn, entertainment is replaced by careful attention as the audience tries to make sense of any of their Irish accents. One gets the feel that particularly important dialogue is being discussed in the opening of the play, however, nothing can be made of the language and interactions between any of the characters, and questionably crucial background information is lost.

Things look brighter though when Christopher "Christy" Mahon, an orphan of sorts played by Jake Boyd, stumbles upon the Inn. Literally, even if you can't understand his whole speech, Boyd's lovable face and beaming smile provide enough satisfaction to tide one over until at least the climatic end. Claiming to have killed his father in a passionate, yet justifiable crime, Christy is soon elevated to almost a heroic status throughout the town. He is put upon a pedestal and is treated as he has never been treated before: girls throw their every glance and giggle at him, Pegeen Mike takes a serious interest in him, and he is essentially the new fad and celebrity of sorts in this monotone, humdrum sort of town.

A foreseen happening, the second act opens with the arrival of Christy's father, Old Mahon, played by Steve Burch--an actor whose Irish accent was there one minute and gone the next so fast you would have thought there were almost two characters just like him. Drama ensues as the audience discovers that his son is, in reality, not the heroic playboy we have all come to love and adore. Rather, he is a coward for running away. After more plot filling of giggling girls and odd Irish music that decided to pop in randomly throughout the show, the climax of the play comes in a manner oddly similar of sorts to Arthur Miller's "The Crucible". Christy, once the upheld and treasured jewel of the town is essentially turned upon by everyone as they all fight for his hanging or death by his father's revenging blows. The giggling girls never stop smiling as they did before, creepily laughing at the thought of their trophy man's possible fate. Pegeen Mike turns upon him as well, her lover, branding him physically and emotionally. It is rough to watch; even though Christy was never in the right nor was he ever essentially moral in any of his actions, the audience cannot help but feel a little compassion for him as they watch his fall from greatness. However, this isn't until the final moments of the play, so the real task at hand is fighting sleep.

In the end, this play could have just as easily been set in the wild west or an american high school or essentially anywhere with a few minor adaptations here and there. There really was no need to give all the actors such an accent to try to perform-the story had no personal connections to Ireland or anything of the sort. Any set would have worked, and perhaps then the play would have been slightly easier to follow and thus entertaining instead of straining.

For the time being, let's leave the role of playboy to the professionals.

No Need for an Irish Jig

noreply@blogger.com (Kara Smith) — Wed, 27 Feb 2008 20:30:00 +0000

Amidst last night's freezing weather, people flocked into the Marian Gallaway Theater to see the opening production of Playboy of the Western World. The Irish play tells the story of a supposed orphan boy who killed his father and has happened upon the rural town that the play is set in. The main character, Christopher, soon steals the hearts of all the women in the town, including a popular woman Margaret. This is a sharp contrast to what Christopher is accustomed to because everyone has always told him he is foolish and ugly.

For fear of spoiling the story, I will just say that not long after Christopher has been in the town someone comes looking for him, with the sole intention of killing him. The play shows the betrayal of the women and townspeople who were once smitten with the boy, to wanting Christopher to be hanged.

The play starts off slow but thankfully gets better after the first twenty minutes. Throughout the play, the plot would switch from being interesting to boring and I often found my mind wandering. The actors in the play all seemed very good and there were none that stuck out as being far less experienced than the others. Good acting, nor the good looks of Christopher, couldn't make up for the recurring drag in the play, though.

The most exciting moments of the play came in the last twenty minutes, which is a good trick that play writes often use so that the audience will leave with a good feeling about the play. If you have two hours to spare I would recommend going, but don't cancel any plans to see this one.

Expect No Riots

noreply@blogger.com (Erin Hollon) — Wed, 27 Feb 2008 14:38:00 +0000

The University of Alabama Theater department took a leap of faith tonight with the opening performance of Playboy of the Western World, and it was a shame to see it fall so flat. Hailed as J.M. Synge's Irish masterpiece, this play was first performed in Dublin in 1907 and caused a riot because of its description of rural Irish poverty and immorality. Tonight there was no riot, nor any reason to suspect that this play could ever cause a strong reaction.

Modern insensitivity may be partly to blame. When a dirty young man wanders into a rural Irish village and claims to have killed his father, today's audience would never feel the same excited curiosity as this rural company. We would send him to the gallows and be done with it, but these simple people make young Christy a hero and, subsequently, the most eligible bachelor in town. Every woman wants such a courageous youth as her personal protector. This is more understandable when Christy is compared to cowardly and prudish Shawn Keogh. It's no wonder Pegeen sets her cap at Christy and throws off her fiance Shawn.

The sexual forwardness of the five townswomen would have been much more shocking in 1907. Tonight it was humorous until its endless repetition became unbearably annoying. Perhaps the shock value saved the second act in 1907, but tonight it was a flop. Christy tells everyone who will listen the fantastic story of his brutal patricide, elevating it to heroism with tales of his father's cruelty. Both characters and audience become frustrated with his endless chatter.

The third act salvages this play, as a series of improbable events leads to a fight with ropes, hoes, and burning coals. What is the exit strategy for such a climax? Simply this: leave the villagers to cope with the psychological implications of the past twenty-four hours, or in some cases, just to welcome the return to rural normality.

One of the difficulties of performing this play must be the necessity of learning an Irish accent. Many of actors are greatly successful in maintaining the dialect. Sadie Magadanz, who plays Pegeen, has a lovely lilt from beginning to end. Pegeen's father and his friends (Joel Ingram, Jon Chapman, and Patrick Winegar) also master the dialect. Most of the other characters are less convincing, and all the characters, lilt or no lilt, are difficult to understand.

Much of the acting is less than superb. The high pitched neighborhood girls are totally flat, with their one-dimensional, ceaseless bantering, eyelash-batting, and giggling. Even Jake Boyd fails to be convincing as Christy Mahon. Surely Synge, who paraded his play as an example of theatrical realism, did not intend Christy to come across as a sulking adolescent, given to sudden uncontrollable rages. He needs either more intelligence or more madness to be realistic.

Sadie Magadanz and Jacqueline Wheeler, who plays Widow Quin, shine above the rest. These ladies become their respective characters and make each action believable. Magadanz, as Pegeen, is controlling of all men and yet star struck by this romantic newcomer. Wheeler is a poor, lonely widow who trades her chance at love for more practical gains. Both women have a love scene with Christy in which, for a few moments, the audience is completely enthralled.

This play certainly has moments of hilarity, and ultimately the performers are less disappointing than the play itself. Synge's realism is unrealistic and the play's shock value has disappeared after a century of advancement and desensitization. Still, for a good bundle of laughs and a crazy climax give Playboy of the Western World a try.

Now Playing

noreply@blogger.com (Critics' Pick Admin) — Wed, 27 Feb 2008 14:03:00 +0000

REVIEWS COMING SOON FOR

The Playboy of the Western World
by J.M. Synge
Gallaway Theatre
February 26 - March 2, 2008
Tuesday - Saturday at 7:30pm
Saturday and Sunday at 2:00pm

Synge invites you to visit the coast of Ireland and experience rural life in the early 1900s. Christy Mahon, a stranger in town, has arrived at Flaherty’s Public House, proclaiming he has killed his father and fled his former life. For the locals, this story rings of excitement, adventure, and enlivens their otherwise dull and dreary world. They relish in Mahon’s story and even Mike Flaherty’s daughter, Pegeen, seems to have fallen for his adventurous charm. But when Mahon’s past catches up with him, will the locals still embrace his heroism or leave him stranded? [From the Department of Theatre and Dance Web site.]

Get your tickets at www.crimsonartstickets.com.

Dance will leave you saying "I Want More!"

noreply@blogger.com (Kara Smith) — Thu, 21 Feb 2008 03:21:00 +0000

If you're in the mood for an African dance, a sultry tango, or even a trip down to Georgia, Dance Alabama! is a must-see show. The Department of Theatre and Dance is presenting its Spring Concert after many weeks of preparation. Not only are there excellent dance numbers, but also a chilling solo by Sheniqua Trotman and a seemingly effortless violin piece by D-Sharp#.

An early crowd favorite was the ensemble “Libertango.” One could almost feel the sparks exuding from the two dancers! “Down to Pointe” also received much applause, but for me seemed to be a bit of a disappointment. Although some of the dancers seemed very professional, others seemed to not know the material as well and didn't look confident with their movements. “Still Feeling Good” was also a crowd pleaser, with a dazzling solo by the leggy Lindsay Sockler.

Some of the best costumes of the night were for the piece “Journey Through Africa,” in which dancers wore African inspired outfits with black and gold. The girls in “Forgiveness” also looked stunning in their black dresses with a simple red accent piece.

The award for best dance number of the night would have to go to “I Want More,” featuring veteran dancers Ryan Arnold, Josh Henderson and Adrienne Hicks. Hicks lights up the stage with her split that nearly turns into a backbend. Let’s just say if most people tried to do what she did, there would be an influx in the amount of people at local hospitals.

Though some songs didn’t have as much oomph as others, there are enough good songs mixed in with the performance to make the show well worth your time and money. Even if you aren’t interested in dance, I guarantee that after seeing how physically fit the performers are that you will be inspired to hit the gym to work on your own physique!

Dance Your Heart Out, Alabama

noreply@blogger.com (Maggie Espino) — Wed, 20 Feb 2008 21:05:00 +0000

When I arrived at Morgan Hall on Tuesday evening, there were already students waiting to enter the cavernous auditorium. As the room began to fill, the chatter of students and parents became almost deafening until the lights suddenly dimmed, then turned to black, creating a blank canvas for the start of Dance Alabama! Spring Concert 2oo8.

Dance Alabama! is a student choreographed and designed showcase of the University's Department of Dance. Each of the seventeen dances are designed by Dance Department students. The students devise every detail of the dance from the music selection to the costumes. Many of the dances employ unique utilization of lighting to enhance the artistic quality of the performance. The dances featured in this spring's concert range from energetic African inspired movement to eclectic modern motions.

Although all of the dances performed highlight the intense work and effort of the Dance Department, several dances deserve special mention. "Moment 2 Reflect" featuring UA student and violinist D-Sharp# is a particularly successful blend of modern and classical dance and music through the choreography of Shannon Lindamood and Anna Solomon. "Beautiful," expertly choreographed by Lindsay Gaston, passionately draws the audience into the intimate world of expression through dance. The same can be said of "Alright" choreographed and performed by Sara deFuniak. Each of these dances feature outstanding performers who effectively connect with the audience through their art of movement.

Crowd favorites include "Journey Through Africa," "The Big Bang Theory," and "Still Feeling Good." Jamal Edwards' skillful choreography orchestrating twenty dancers and Sheniqua Trotman's incredible vocals give "Journey Through Africa" the energy and excitement the audience craves at the end of the first half. "The Big Bang Theory," choreographed with finesse by Frank Barber features dancers in complete darkness illuminated by neon color swatches glowing through the use of black light. "Still Feeling Good," choreographed by Lindsay Sockler and featuring music by Muse is expertly executed with precision to bring a reluctant end to the Dance Alabama! Spring Concert.

Dance Alabama! is a thrilling exhibition of the remarkable artistic abilities present here at the University. Running under two hours with a short intermission, Dance Alabama! will bring a smile to your face and a liveliness to your stride that will leave you longing for more. Definitely abandon your homework and your paper writing without feeling guilty to enjoy this breathtaking display of the talent we host here at Alabama.

Masterful Storytelling and Variation at Dance Alabama!

noreply@blogger.com (Meg Brandl) — Wed, 20 Feb 2008 20:36:00 +0000

A light shines from stage left as girls throw themselves about the floor, windmilling their arms in violent but fluid motions. The way the light hits them leaves an afterimage as they twist and flow, their faces pictures of determination. There is almost something terrifying about the way they move, but the strength and power they express ends up as the lyrics to the song suggest--"beautiful."

Such was the scene Tuesday night when Dance Alabama! opened on the Morgan Auditorium stage at 7:30. The program was a fascinating conglomeration of different styles of dance and music, from things like ballet to modern, abstract catlike motions, the soulful violin of D-Sharp# and ponderous piano melody of Regina Spektor to "The Devil Went Down to Georgia." The performance certainly offered pieces for all tastes, though some of them seemed to miss the mark. Most pieces told clear stories which were exemplified through the combined efforts of the music, the choreography, and the dancers' personal methods of expressing themselves both through their interpretations of the choreography and their facial expressions.

Some dances were set to songs with lyrics and were easy enough to decipher. "Forgiveness," "Alright," and "Still Feeling Good" were all pieces that matched obviously to their background songs, but the dancers still made the music fresh and new, adding new meaning to what was once just chords and lyrics. They smirked at the audience; they held their heads high; they were graceful and joyous. They looked up into the light with fearful expressions; they hung their heads; they were awkward and broken. They told stories with their bodies, and it was beautifully done.

The less obvious dances varied in their effectiveness. The opening number "Let It Be," which combined a track from Across the Universe with unsettling silences and somewhat abstract twirlings, still gave me chills for all its strangeness because of the way the dancers made one feel the tale they were trying to tell. On the other hand, the piece titled "No Aid, I Pray" was a bizarre twisting and hand-motioning and leaping; my notes read, "Egyptian reptile-cats? Very modern and frightening."

Other dances endeavored to express feelings or show innovation but fell short when the dancers' outward expressions seemed lacking in the right emotion or when they fell out of sync. Although seemingly a crowd favorite, "Down to the Pointe," a sort of dance to "The Devil Went Down to Georgia" by girls on pointe shoes, was, I thought, ineffective. The pointe shoes were anticlimactic, and--although it's possible I missed something--the girls did not appear to be moving together very much of the time.

All in all, though, Dance Alabama! was just fun. When the lights came up on Sheniqua Trotman, filling the auditorium with her powerful voice for "Journey Through Africa," dancers crept out on stage, dark silhouettes against a backdrop that glowed orange. Suddenly light flooded the stage, the sound of African drums pounded like a heartbeat, and the dancers moved with what could be described as nothing but pure joy. They shouted and whooped, flinging themselves around with impressive acrobatics. Elation radiated from the stage, and one couldn't help but smile. If you believe that the best dance performances are those that make you really feel something, then, as a whole, Dance Alabama! is more than worth your while.

Dance Alabama! Dance

noreply@blogger.com (Cedridiculous52) — Wed, 20 Feb 2008 16:40:00 +0000

If you have not made it out to see the Dance Alabama! Concert this spring, you are truly depriving yourself of a great experience. Go ahead. Step away from the books for just a second. Put the pencil down and go get your tickets! The University of Alabama Dance Department have come together to put together a phenomenal show unlike any other dance program you have ever seen. There is truly something for everyone. The ladies and gentlemen that collectively encompass the Dance Alabama! Ensemble are truly talented and it is not enough to tell you about it- it is something you must see for yourself. The spring concert features contemporary pieces and older pieces as well with student choreography.

Moment 2 Reflect
"Moment to Reflect" is entirely student-led as violinist Derryck "D-Sharp#" Gleaton performs his own personal accompaniment for the dancers as Shannon Lindamood and Anna Solomon work together to make greatness through the choreography. The piece is hip and edgy and nearly has a casual appeal as some of the moves in the dance require little technicality or difficulty. The piece is upbeat and energetic and keeps the audience on the edge of its seat.

Beautiful
"Beautiful" cannot be described in any other way. The word beautiful itself may come even short of doing this work due justice. The dancers use stressed and deliberate movements and when added to the music creates a very melodic ambience. The appeal of the piece is smooth and angelic, and the audience perceives that the dancers really enjoyed working on this piece. Kudos goes to Lindsay Gaston for constructing a true work of art and motivating her cast to feel the music.

Libertango
Gustavo Heudebert and Kathleen McIntosh put their own spin on the dance of love. "Libertango" highlighted the lust involved with the tango, making the dance a struggle of a love affair, and depicts a very combative and aggressive dance. The Latin flair was still present and the two exhibited a fair amount of moxie to portray the emotion necessary to pull of one of the more technical dances. It was indeed a fan favorite however providing a new touch to a matured concept.

Journey through Africa
To pay homage to Black History Month, it is quite fitting that Jamal Edwards choreographs a tribute to the African heritage and culture. The performance is high-energy and provides a familial vibe at times, as communities of dancers congregate to the stage to perform in unison. This particular piece also allows room for some exposure to acrobatics. The dance ensemble begins with vocalist Sheniqua Troutman singing "I’ll Fly Away". She is not the only one who has a vocal role in the work however, as the entire cast contribute where the instrumental lacks, inserting shrieks and yells into the constant drumming. The piece definitely strives to embody the African culture.

The Big Bang Theory
A light show of sorts, Frank Barber utilizes the movement of the entire body through lights. Alike something seen at Ringling Brothers, or the Blue Man Group in Vegas, the dancers are no longer "bodies" per say, but simply become lights moving frantically on stage. The novelty of the show as well as the placement of the lights is interesting, making the slightest movements of body parts quite distinctive. The music is upbeat and engaging and this portion of the show may be the most entertaining.

Support the arts, the University of Alabama Dance and Theatre Department and your fellow students who work hard to provide entertainment for you and help make their dreams a possibility.